Art Walls: The Next Big Thing?
Refik Anadol’s data sculpture Melting Memories
This all started as a side conversation with Cory Reistad, the head of SAV Digital Environments in Bozeman, Montana. We were discussing emerging trends in luxury home entertainment, and Cory mentioned that his company is getting an increasing number of requests for video-wall installations so people can display unique, commissioned works of video art in their homes.
Intrigued, I reached out to a number of people I trust to know a lot more about something like this than I do. Some of them were well aware of, and up to speed on, the whole “art wall” thing and excited about the possibilities. Some of them had no idea what I was talking about. That suggested that this is a bona fide trend that hasn’t yet achieved broad awareness even among the luxury-tech cognoscenti.
What follows can’t really be called an introduction to art walls—it’s more like some random notes pointing in their general direction. But I wanted to send out an early missive as I do my due diligence and we, as a site, begin to wrap our arms around the phenomenon.
It would probably be a good idea to show you what I’m talking about. A bunch of website loops and Vimeo clips obviously can’t begin to convey the impact of these installations, but they can at least give you a taste of what they’re all about.
First up, a projector-driven installation Barco did at the the Carrières de Lumières, a quarry-based exhibition space in Provence, France. (Early evidence suggests Barco has been largely responsible for defining, promoting, and facilitating the art-wall category—but we’ll circle back to all that in later posts.)
Next, two works by Refik Anadol. I was steered to these by Barco Residential managing director Tim Sinnaeve, who has been tremendously generous and patient about addressing my ignorant queries and bringing me up to speed. The first is Melting Memories, a 20 x 16.7-foot LED video wall of “data sculptures” based on brain-wave activity associated with memory:
The second is “Wind of Boston,” a series of video paintings that feed off from a one-year set of meteorological data gleaned from Logan Airport:
Art walls seem to be catching on for a number of reasons. Projectors are brighter, projection screens are better at rejecting ambient light, and technology like MicroLED is taking hold that will allow you to create practically any size screen out of flat-panel video displays. Also, people are finally starting to think of video screens less as eyesores and more as design opportunities. Third—although this might just be wishful thinking on my part—the proliferation of content via streaming might be creating genre burnout, causing people to reject cookie-cutter mass-market diversions for more meaningful work. Or maybe they’re just taking video works more seriously as art.
Tim Sinnaeve discourages using the phrase “art wall,” by the way, in favor of “Architectural Digital Canvas,” while referring to the content itself as “New Media Art.” I can see the need for the more accurate nomenclature—there’s no reason, for instance, why you can’t have video images on the ceiling or the floor as well as the wall—but “art wall” seems like the more intuitive term, at least as we begin to explore the trend.
Tim pointed out something that was kind of an epiphany for me, since it suggests that these installations are part of a larger paradigm shift in luxury tech. Art walls deliberately try to avoid the connotations of the 16:9 aspect ratio, which we associate with computer monitors, movies, TV shows, and gaming, so the viewer will more readily embrace the art work on its own terms. The idea of freeing screens from the tyranny of the proscenium could clear the way for other innovative tech-driven art/entertainment experiences in the home, again, helping to break the stranglehold of mass-produced genre-driven melodrama. It could also finally provide a way for architects and designers, who tend to look askance at the man cave and its descendants, to embrace cutting-edge video tech in the home.
Like I said—just a bunch of random notes as we begin to look into a development well worth checking out.
Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtable, marketing, product design, some theater designs,
a couple TV shows, some commercials, and now this.